In the 1920’s Han van Meegeren is considered a very talented painter who meets the actress Jólanka Lakatos, the wife of Abraham Bredius, the most important art critic of his day. Bredius ruthlessly takes revenge on Han by vilifying his work in public. Han van Meegeren then moves to France, concentrating on one thing only: revenge on Bredius by painting a perfect Johannes Vermeer.

After yet another blunder, an embittered cop, Daoud, is sent by his dissatis edsuperiors to spend a day on a bridge between two warring neighborhoods to protect the hypothetical passage of the Royal procession.
At the same time a hopeless Don Quixote and a lazy Don Juan, Daoud is a pathetic womanizer who is the despair of everyone, starting with his lucid and exhausted wife and his ill- tempered chief.
Prisoner of the bridge, Daoud will be transformed upon contact with the inhabitants of both villages. He will learn maturity after spending time with a ve year old child and a mother who upheld her dignity, despite a shaved skull by the secret police. He will take a life lesson from two Moqadems*, mean-spirited enemy brothers and a facetious head of police.
This seemingly normal day made of absurd waiting, improbable encounters and brutal poetry takes place under the giant shadow of a messianic monarch whose passage disturbs the delicate balance of this motley population.
* Representatives of power at the level of a neighborhood or a village.

Germany, 1967. Ruby and Martin, a young couple, are rehearsing their uprising. The price is high: Expulsion from school, parental violence, and ultimately institutionalization. But they’re ready to take on the cause of love.

Kertu is kept at close reign living at home with her parents. In the village, where she silently delivers the mail, word is out that she is a simpleton. Villu, the local handyman, wins Kertu’s heart, even though everyone knows him to be a shameless womanizer and hopeless drunk. She had never expressed feelings for anyone until the day she sent him a postcard with a poem she had copied. He was touched. One night, they break away from a village celebration for the long walk home. Villu, who had just suffered the first glimpse of his own mortality, is sweet and tender with Kertu. The police search in vain for the couple; but it is only in the morning that Kertu is discovered at the home Villu shares with his mother, Malle. She so wants to avoid going home with her mother and sister, that Kertu hides under Malle’s bed. Kertu’s father flies into a rage when she refuses to press charges against the man now known as her abuser. The whole of the community shuns Villu, who disappears for a month of medical treatment in Tallinn. Life settles back to its uneventful pace, until Villu returns to confront Kertu’s father, as she looks on – silent and obedient. Villu learns that the circumstances of her life are far more cruel than anyone could have imagined. Kertu retreats into her shell, hoping the conflict between father and lover will just go away. But the young couple is soon challenged to take a stand for the dream they share of freedom and happiness together.

What is home? Is it a place? The place of mother tongue and tradition? The place of selfrealisation or of the family? ANDUNI – Where are we goin’ then? Always home! When her father dies, Belinda is drawn more and more into the burlesque world of her Armenian family, that she never really cared about earlier. But the more comfortable she feels here, the more she estranges from her college life and her boyfriend Manuel. Belinda makes herself onto a journey between safety and instability, freedom and narrowness. A search fo a home, with half of her familiy participating- and also Manuel.

Social worker Hans-Peter Stadler, compulsively anxious to please is short of money and resorts to a white lie to get some quick cash. At first his success appears to justify his actions, but actually it marks the beginning of the end.